With strict-note-spacing spacing for grace notes (even multiple ones) is floating as well.

If strict-note-spacing is set spacing of notes is not influenced by bars or clefs within a system. Rather, they are placed just before the note that occurs at the same time. This may cause collisions.

Some dynamics may involve text indications (such as più forte or piano subito). These can be produced using a \markup block.

Anglican Chant

Anglican chant developed from plainchant. It is an art form of great beauty when sung in four-part harmony by carefully rehearsed choirs. Many congregations sing Anglican chant with affection and enthusiasm.

An Anglican chant consists of two phrases, one of four notes in duration, followed by on of six notes. A double, triple, or quadruple chant consists of a doubling, triplilng, or quadrupling of this basic pattern. Because of the fixed design of Anglican chant, a text must be pointed so that certain accented syllables will be sung to particular notes - the second and fourth notes of each section and the sixth note of the final section. The first note of each section, the reciting note, may be associated with only a single unaccented syllable (it may, in fact, on occasion be omitted) or it may be associated with a dozen or more syllables. The musical notation defines the pitch but not the duration of any note.

A Manual for Clergy and Church Musicians, © 1980 by the Church Pension Fund, pp. 55

You can see from the following attachment that singing Anglican Chant directly from The Hymnal 1982 can require more practice and skill than most congregations, let alone choirs, posses. This template allows a simple method of pointing and writing out Anglican Chant so they can be sung more easily. Here is a sample of S39 The Invitatory: Venite/Psalm 95.

The text for Psalms and Canticles may be downloaded from http://justus.anglican.org/resources/bcp/bcp.htm. However, the pointed versions are in The Hymnal 1982. There, two dots over a word imply a slur. A bracket over a word implies a tie. The apostrophes mark bars.

S 39 is a double chant, so you can think of it as an A B pattern that is repeated. For this example, I used an Antiphon for Lent (The Lord if full of com ' passion and ' mercy: * Come let ' us a ' dore ' him.) The sequence for the entire Venite (Psalm 95 verses 1-7) is in the form A A [Ant. B] A B A [Ant. B] A A [Ant. B]. It is best to end a section in a B. So if you are not using an Antiphon, you would probably program A B A A B A B for verses 1-7 respectively.

Using the Template:

• FIRST, create anglican-init.ly which provides chant like bars. This code was extracted from gregorian-init.ly.
• SECOND Open the template and indicate the key. In this case, d major
• THIRD program the music.
• FOURTH Enter words. Template allows you to specify a dynamic for each phrase. I also include verse number or "Ant." in box for reference during practice. Creat a different lyricmode entry for each antiphonal group and for the antiphon so that antiphons can be inserted in-line.
• FIFTH Sequence the trebMusic and bassMusic in the correct A B pattern. (You must do this for both treb and bass.)
• SIXTH Sequence the lyrics with the inserted Antiphon

When you have done these six steps, you can run LilyPond to check your programming.

In vocal music, dynamic markings are often placed above, rather than below, the notes, so both the dynamics and the lyrics are close to the staff. In SATB pieces, vertical space can be scarce, and one way to recover some is to move the dynamics so they appear to the left of the notes. In recent development versions of LilyPond, they will then fall down to the staff in many cases. In current stable versions, they need to be manually shifted down.

This example provides a function to typeset a hairpin (de)crescendo with some additional text below it, such as molto or poco. The added text will change the direction according to the direction of the hairpin. The Hairpin is aligned to DynamicText.

The example also illustrates how to modify the way an object is normally printed, using some Scheme code.

This is a Scheme function which prints a tempo mark such as Fast (♩ = 222)

This example uses some Scheme code to enforce enharmonic modifications for notes in order to have the minimum number of accidentals. In this case, the following rules apply:

Double accidentals should be removed

B sharp -> C

E sharp -> F

C flat -> B

F flat -> E

In this manner, the most natural enharmonic notes are chosen.

The layout of grace expressions can be changed throughout the music using the functions add-grace-property and remove-grace-property.

The following example undefines the Stem direction for this grace, so that stems do not always point up, and changes the default note heads to crosses.

Although the easiest way to add parentheses to a dynamic mark is to use a \markup block, this method has a downside: the created objects will behave like text markups, and not like dynamics.

However, it is possible to create a similar object using the equivalent Scheme code (as described in the Notation Reference), combined with the make-dynamic-script function. This way, the markup will be regarded as a dynamic, and therefore will remain compatible with commands such as \dynamicUp or \dynamicDown.